The story has an escape pod from the Colonial Marine starship Sulaco in Aliens crash-landing on a refinery/prison planet, killing everyone on board except Lieutenant Ellen Ripley (Sigourney Weaver). Unknown to Ripley, an Alien egg was aboard the ship, and is born in the prison and begins a killing spree. Ripley later discovers there is also an alien growing inside her.

Alien 3 had a difficult production, with various screenwriters and directors getting involved in the project, and shooting even started without a finished script. Upon completion, the studio dismantled and reworked it without Fincher's consent, including releasing a teaser trailer that suggested the film would take place on Earth. The film was released to mixed reviews, and while not very successful at the United States box office, it earned over $100 million outside of North America.

David Fincher was brought into the project very late in its development, after a proposed version written by Vincent Ward (What Dreams May Come) at the helm fell through. Fincher had little time to prepare, and the experience making the film proved agonizing for him, as he had to endure incessant creative interference from the studio. The film was Fincher's debut in big budget film making, and at the relatively young age of 27 he had to shoot the film without having a definite script. The added weight was also to create a film worthy of the work of the two revered directors that had gone before him, James Cameron and Ridley Scott.[1]

Plot

Following the events in Aliens, the Colonial Marine spaceship Sulaco experiences an onboard fire and launches an escape pod containing Ellen Ripley (Sigourney Weaver), Newt, Hicks, and the damaged androidBishop who are all in cryonic stasis. During the launch, the ship's medical scans of the crew's cryotubes show an Alien facehugger attached to one of the crewmembers. The pod then crashes on Fiorina 'Fury' 161, a foundry facility and penal colony inhabited by all-male inmates with "double-Y" chromosome patterns. After some inmates recover the pod and its passengers, an Alien facehugger is seen approaching the prison dog. Ripley is taken in and awakened by Clemens (Charles Dance), the prison doctor, and is told she is the only survivor of the crash. Many of the ex-inmates have embraced an apocalyptic, millenarian religion which forbids sexual relations, and Ripley is warned by the prison warden, Harold Andrews, (Brian Glover) that her presence among them may have extremely disruptive effects.

Suspicious of what caused the escape pod to jettison and what killed her companions, Ripley requests that Clemens perform an autopsy on Newt. She fears that Newt may be carrying an Alien embryo in her body, though she does not share this information. Despite protests from the warden and his assistant, Aaron (Ralph Brown), the autopsy is conducted and no embryo is found in Newt's body, and Clemens proclaims she simply died in the crash. Meanwhile, Ripley's unusual behavior begins to frustrate the warden and is agitating the prisoners.

A funeral is performed for Newt and Hicks in which their bodies are cremated in the facility's enormous furnace. In another section of the facility, the prison dog enters convulsions, and an Alien bursts from its body. The Alien soon begins to attack members of the colony, killing several and returning an outcast prisoner Golic (Paul McGann) to his former deranged state. To get answers, Ripley recovers and reactivates the damaged android Bishop, who confirms that there was an Alien on the Sulaco and it came with them to Fiorina in the escape pod. She then informs Andrews of her previous encounters with the Aliens and suggests everyone work together to hunt it down and kill it. Andrews does not believe her story and explains that the facility has no weapons. Their only hope of protection is the rescue ship being sent for Ripley by the Weyland-Yutani Corporation.

Back in the prison infirmary, while talking to Ripley about the situation, Clemens is killed by the Alien, which then approaches Ripley but does not attempt to kill her. She runs to the mess hall to warn the others, only to see the Alien kill the warden. Ripley rallies the inmates and proposes they pour highly flammable toxic waste, which is stored at the facility, into the ventilation system and ignite it to flush out the creature. An explosion is caused by the creature's premature intervention, resulting in several deaths. Using the medical equipment onboard the Sulaco escape pod, Ripley scans herself and discovers the embryo of an Alien Queen growing inside her. She also finds out that the Corporation truly wants the Queen embryo and the adult Alien, hoping to turn them into biological weapons. Deducing that the mature alien will not kill her because of the embryo she carries, Ripley begs Dillon (Charles S. Dutton), the religious leader of the inmates, to kill her, who agrees to do so only if she helps the inmates kill the adult creature first. They form a plan to lure it into the foundry's molding facility and drown it in molten lead. The bait-and-chase style plan results in the death of Dillon and all the remaining prisoners, except Morse (Danny Webb), who pours the lead. The Alien, covered in molten metal, escapes the mold and is killed by Ripley when she turns on fire sprinklers and sprays the beast with water, causing its exoskeleton to cool rapidly and shatter via thermal shock.

While Ripley battles the Alien, the Weyland-Yutani team arrives, including a man named Michael Bishop who looks identical to the Bishop android, claiming to be its creator. He tries to persuade Ripley to undergo surgery to remove the Queen embryo, which he claims will be destroyed. Ripley refuses and steps back onto a mobile platform, which Morse positions over the furnace. The company men shoot Morse in the leg, and Aaron picks up a large wrench and strikes Bishop over the head with it, believing him to be an android. Aaron is shot dead and Bishop and his men show their true intentions, begging Ripley to let them have the "magnificent specimen." Ripley defies them by throwing herself into the gigantic furnace, just as the alien Queen begins to erupt from her chest. However, as she is dying from the wound, Ripley grabs the creature and holds on to it as she falls into the fire.

The film ends with a sequence showing the facility being closed down, the last surviving inmate, Morse, being led away, and a shot of the Sulaco escape pod as the sound recording of Ripley's final lines from the original Alien film is heard.

Cast

Sigourney Weaver as Ellen Ripley, reprising her role from the previous two Alien films. Ripley crash-lands on Fiorina 161 and is once again burdened with the task of destroying another of the alien creatures.

Charles S. Dutton as Dillon, one of Fiorina's inmates who functions as the spiritual preacher amongst the prisoners and attempts to keep the peace in the facility.

Charles Dance as Jonathan Clemens, a former inmate who now serves as the facility's doctor. He treats Ripley after her escape pod crashes at the start of the film and forms a special bond with her. Before he is killed, Clemens laments to Ripley why he was originally sent to Fiorina, describing it as "more than a little melodramatic."

Brian Glover as Harold Andrews, the prison warden. He believes Ripley's presence will cause disruption amongst the inmates and attempts to control the rumors surrounding her and the creature. He rejects her claims about the existence of such a creature, only to be killed by it.

Ralph Brown as Aaron, the assistant of Superintendent Andrews. The prisoners refer to him by the nickname "85", after his IQ score, which annoys him. He opposes Ripley's insistence that the prisoners must try to fight the alien, and refutes her claim that Weyland-Yutani will collect the alien instead of them.

Paul McGann as Golic. A mass-murderer and outcast amongst the prison population, Golic becomes very disturbed after being assaulted by the alien in the prison's underground network of tunnels, gradually becoming more and more obsessed with the alien. In the Assembly Cut of the film, his obsession with and defense of the creature soon lead to murder, and his actions jeopardize the entire plan.

Danny Webb as Morse, one of the prison's inmates who assists Ripley in combating the alien. Morse is the only survivor of the entire incident.

Pete Postlethwaite as David, one of the more intelligent inmates who is killed by the creature in the bait-and-chase sequence.

Lance Henriksen as Michael Bishop. Credited as Bishop II, he appears in the film's final scene, claiming to be the human designer of the Bishop android. He wants the alien Queen that is growing inside Ripley for use in Weyland-Yutani's bioweapons division.

Tom Woodruff, Jr. (uncredited) as the Alien.[2] This Alien is different from the ones in previous installments due to its host being quadrupedal (a dog in the theatrical cut, an ox in the assembly cut). Initially a visual effects supervisor, Woodruff decided to take the role of the creature after his company, Amalgamated Dynamics, was hired by Fox.[3] Woodruff said that, following Sigourney Weaver's advice, he approaches the role as an actor instead of a stuntman, trying to make his performance more than "just a guy in a suit." He considered the acting process "as much physical as it is mental."[4]

Special Edition DVD

An alternate version of Alien³ (officially titled the "Assembly Cut") with over 30 minutes of additional footage was released on the 9-disc Alien Quadrilogy box-set in 2003. Director David Fincher was the only director from the franchise who declined to participate in the box-set release.[5]

The Assembly Cut has several key plot elements that differ from the theatrical release. The alien gestates in an ox rather than a dog, and one of the inmates discovers a dead facehugger. Some scenes are extended to focus more on the religious views of the inmates. Most notably, in the Assembly Cut the inmates succeed in their attempt to trap the alien, but it is later released by the disturbed inmate Golic. In this version, the alien Queen does not burst from Ripley's chest as she falls into the furnace.

Some of the audio in the Assembly Cut is of noticeably poorer quality, often during footage that was not included in the theatrical release. The lesser quality is attributed to the fact that ADR by the original actors was not recorded for this footage, since it had been cut from the film by the time the film was being dubbed.[6]

Development

Originally Brandywine Productions was approached by 20th Century Fox to create two more sequels. After going through several ideas, David Giler and Walter Hill, the film series producers, "settled upon a complex two-part story that offered the underhanded Weyland-Yutani Corporation facing off with a militarily aggressive culture of humans whose rigid socialist ideology has caused them to separate from Earth's society."[7] Sigourney Weaver (Ripley) would only make a cameo appearance in the third film, with the lead role going to Michael Biehn's Corporal Hicks from Aliens. Alien 4 would see the return of Ripley "in an epic battle with alien warriors mass produced by the expatriated Earthlings." Weaver in particular liked the Cold War metaphor and agreed to the smaller role.

"I felt that Ripley was going to become a burden to the story." she concluded. "There are only so many aspects to that character you can do."

Weaver also agreed on being removed because she did not like the studio changes to Aliens, which removed scenes of Ripley's backstory that she considered crucial.[8] Although 20th Century Fox were skeptical about the idea, they agreed to finance the development of the story, but asked that Hill and Giler attempt to get Ridley Scott to direct Alien 3. They also asked that the two films be shot back to back to lessen the production costs. However this proved to be difficult as Ridley Scott, though interested, was busy working on three films at the time. In September 1987, Giler and Hill approached cyberpunk author, William Gibson, to write the script for the third film. Gibson, who was influenced by Alien, agreed to write the script.[7]

However, when a final screenplay (by David Twohy) was delivered to Fox president Joe Roth, he didn't like the idea of Ripley being removed, declaring that "Sigourney Weaver is the centerpiece of the series" and Ripley was "really the only female warrior we have in our movie mythology." Weaver was then called, with a reported $5 million salary, plus a share of the box office receipts.[8]

Writing

William Gibson

A very early script treatment was written by science fiction author William Gibson. At the time of his involvement, Sigourney Weaver "seemed doggedly unwilling to participate", so the main narrative focus became Hicks and Bishop. The version available on the Internet is, according to Gibson, "about thirty pages shorter than the version I turned in. It became the first of some thirty drafts, by a great many screenwriters, and none of mine was used (except for the idea, perhaps, of a bar-code tattoo)."[9]

In copies of Gibson's treatment, "chestbursters" erupt out of human hosts as in previous installments, and turn into "bigger, meaner, faster" Alien Warriors. However due to initial genetic modification experiments undertaken by the Biological Warfare division on the space station (Anchorpoint), the Aliens additionally exhibit a close proximity airborne virulent contagion. When exposed at close range, the victim, after a variable amount of time goes through "the Change" as Gibson calls it, and becomes a form of alien warrior. The suspense here being that the team does not know if anyone is infected until they find out when it is least expected. The process imagined by Gibson can be summarized as an involuntary change in the human's skeletal and muscular makeup below the skin, concluding with the newly formed Alien graphically tearing the flesh husk off of its body. The storyline for the film picked up after Aliens, as the Sulaco drifts into an area of space claimed by the "Union of Progressive People", due to a navigational error. The ship is boarded by people from the U.P.P, who are attacked by a facehugger, hiding in the entrails of Bishop's mangled body. The soldiers blast the facehugger into space and take Bishop with them for further study. The Sulaco then arrives at Anchorpoint, which is a Company run space station/mall. A fire on the ship caused by remaining Aliens puts Ripley into a coma and Hicks is left to investigate if the rumors are true that Weyland-Yutani are developing alien warriors (which they are). The U.P.P. is also doing their own research, due to custody of Bishop. After they have finished with Bishop, they repair him (albeit with cheap parts) and return him to Anchorpoint in a show of good will. Eventually Anchorpoint and the U.P.P stations are overrun with the parasite and Hicks must team up with the survivors to destroy the aliens. The film ends with a teaser for Alien 4 in which Bishop suggest to Hicks that humans are united against a common enemy and they must track the aliens to their source and destroy them. The screenplay was very action oriented, containing 8 marine vs alien battle scenes whereas its predecessor James Cameron's contained only 2 such scenes. It also featured an extended cast with new characters and has a considerable following on the Internet. The producers, while liking certain parts, were unhappy with the screenplay. Gibson was asked to make rewrites with their newly hired director, Renny Harlin, but declined citing various other commitments and "foot dragging on the producers part."[7]

Eric Red

The next draft was done by Eric Red, writer of the cult horror films The Hitcher and Near Dark, and opened with a team of Special Forces marines boarding the Sulaco unarmed and finding that all the survivors of the LV-426 mission had fallen victim to the aliens. The only reference to the first two films being a torn spacesuit nametag that is found bearing the name "Ripley". The screenplay in a sense was even bolder than the Gibson script, in that it took place in an entire small-town USA city in a type of bio-dome in space. Red's screenplay resurrected the idea of aliens transforming humans into cocoons that was deleted from the original film. The screenplay's brash storyline culminates in an all out battle with the townsfolk facing hordes of Alien Warriors, yet it also contains an arguably higher level of horror than the previous films and screenplays. In addition to this, it is the first screenplay in the Aliens genre to feature a genetically mixed Alien-Human creature in antibiosis (foreshadowing the "newborn" in Alien Resurrection). The screenplay also re-uses the "alien virus" idea from Gibson's draft, which this time gives rise to Alien mosquitoes, cattle, dogs and chickens and has even gained the ability to infect matter and technology as well, resulting in the space station itself being transformed into a giant alien-like creature. After being shown Red's screenplay, then-director Renny Harlin walked out on the project to direct Die Hard 2, and Red was fired shortly afterward. It was at this point that Giler and Hill abandoned their plans for the two Alien sequels.

David Twohy

Writer (and future director) David Twohy was next to work on the project, and his version featured a prison planet, which was being used for illegal experiments on the aliens for a Biological Warfare division. The screenplay details how inmates on death row were mock executed in a gas chamber, while actually being kept alive and being used as bait in experiments with the Alien. Examples included breach testing, where the Alien would be videotaped using scientific high speed cameras as it searched for - and found - the weakest part of a structure with a human bait inside, broke through and attacked the victim. This screenplay was also the first to propose a failed clones scenario, describing large jars of Alien test clones, some fused together as Siamese twins, possibly as a forerunner to the "clones of Ripley" scene in Alien Resurrection.

It was also the first script to feature a high number of different Alien types (Rogue Alien, Spike Alien, Alien chameleon, etc), and was the first screenplay to flesh out the idea of the "newborn" (used later in Alien Resurrection), called the "newbreed" here.

Finally, the script also had numerous scenes where victims are piecemeal sucked into space through a small rupture in the hull (or through bars) causing very gruesome deaths, possibly functioning as a precursor to the death of the "newborn" in Alien: Resurrection.

When new director Vincent Ward told the studio he was not interested in filming Twohy's script and wanted to pursue his own idea of the film, Twohy's draft was scrapped.

Vincent Ward

The story by Vincent Ward[10] and the screenplay with co-writer John Fasano had Ripley's escape pod crash landing on a monastery-like satellite, which had parts of its interior, both wooden and archaic in design. The Alien³ special features disc set, Alien Quadrilogy[11] explains how Ward came about creating the story for this partially wooden satellite also as a place of refuge for Luddite-like monks.

The story begins with a monk who sees a "star in the East” (Ripley's escape pod)[12] and at first believes this to be a good sign. Upon arrival of Ripley, and with increasing suggestions of the Alien presence, the monk inhabitants believe it to be some sort of religious trial for their misdemeanors, punishable by the creature that haunts them. By having a woman in their monastery, they wonder if their trial is partially caused by sexual temptation, as Ripley is the only woman to be amongst an all male community in ten years. To avoid this and (hopefully) the much grimmer reality of what she has brought with her, the Monks of the "wooden satellite" lock Ripley into a dungeon-like sewer and ignore her advice on the true nature of the beast.[13] The monks believe that the Alien is in fact the Devil.[14]

Primarily though, this story was about Ripley's own soul searching complicated by the seeding of the Alien within her and further hampered her largely solo attempts to defeat it. The Alien Quadrilogy DVD set features scenes and illustrations that show this ‘Wooden Planet’. Aspects of the monastery and monks of these drafts were later utilised in the final production of the film by having the male inmates participating in an apocalyptic religion that forbid sexual relations. Primarily it was the plot of Alien 3 that was borrowed from this story but little of this world remained in the film. Despite his credit,[15] Ward noted that the things he liked best about the story and those that he believed would have made it work were not used. The screenplay featured scenes set in different locations on the one-mile wide wooden planetoid, ranging from wheat fields, through a grisly but darkly comic scene in the monks’ communal toilets, to furnaces and a glass works (also used in the finished film).

Empire Magazine described Ward’s ‘Wooden Planet’ concept as ‘undeniably attractive – it would have been visually arresting and at the very least, could have made for some astonishing action sequences. In the same article, Norman Reynolds - Production Designer originally hired by Ward, remembers an early design idea for “a wooden library shaft. You looked at the books on this wooden platform that went up and down”. ‘Imagine the kind of vertical jeopardy sequence that could have been staged here – the Alien clambering up these impossibly high bookshelves as desperate monks work the platform’[16]. Sigourney Weaver described Ward’s overall concept as “very original and arresting.”[17] Former London Times journalist David Hughes included Ward’s version of Alien III amongst ‘The Greatest Sci-Fi Movies Never Made’[18] in his book of this title. Since Ward’s vision for the film was never borne out into the arena of public scrutiny, this is obviously reserved for those who have taken a particular interest in the Alien project. However, Ward’s proposed version of Alien III has gained a certain following with the 2009 article in Empire Magazine[19] and an extensive section dedicated to Ward’s vision in the Alien Quadrilogy box set.

Walter Hill and David Giler

Short on time before filming was due to commence, producers Walter Hill and David Giler took control of the screenplay themselves, melding aspects of the Ward/Fasano script with Twohy's earlier prison planet screenplay to create the basis of the final film. David Fincher did further work on the screenplay with author Rex Pickett, and despite Pickett being fired and Hill and Giler writing the final draft of the screenplay, he revised most of the work done by the previous authors.

Filming

The film was shot at Pinewood Studios, starting in January 14, 1991, without even a finished script and having spent $7 million.[8]

Visual effects

Stan Winston, responsible for creature effects in Aliens, was approached but wasn't available. Winston instead recommended Tom Woodruff, Jr. and Alec Gills, two former workers of his studio who had just started their own company, Amalgamated Dynamics.[3]

The Alien is portrayed by both Woodruff, Jr. in a suit and a rod puppet filmed against bluescreen and optically composited into the live-action footage. A mechanical alien head was also used for close-ups.[20] The suit adapted the design used in Aliens so Woodruff could walk on all fours.[3] Woodruff's head was contained in the neck of the suit, because the head was filled with animatronics to move the mouth of the Alien.[4]

Director David Fincher suggested that a whippet be dressed in an alien costume for on-set coverage of the quadrupedal alien, but the visual effects team was dissatisfied with the comical result and the idea was dropped in favor of the puppet.[20]

A small number of shots contain CGI elements, most notably the cracking alien head. Other CGI elements include shadows cast by the (rod puppet) alien, and airborne debris in outdoor scenes.[20]

Music

The film's composer, Elliot Goldenthal, spent a year composing the score by working closely with Fincher to create music based primarily on the surroundings and atmosphere of the film itself. The score was recorded during the Los Angeles riots of 1992, which Goldenthal later claimed contributed to the score's disturbing nature.[21] The choral segment featured in the opening titles, performed by boy soprano, is "Agnus Dei" ("Lamb of God"), from the Catholic Mass, and was included as a reference to the prisoners as lambs being led to the slaughter.[citation needed]

Reception

Box office

Alien 3 was released in the United States on May 22, 1992. The film debuted at number two of the box office, behind Lethal Weapon 3, with a Memorial Day weekend gross of $23.1 million. It screened in 2,227 theaters, for an average gross of $8,733 per theater.[22] The film was considered a flop in North America with a total of $55.4 million, although it grossed $104.3 million internationally[23] for a total of $159.7 million. It is the second highest earning Alien film, excluding the effect of inflation, and had the 28th highest domestic gross in 1992.[24]

Critical reception

From its initial release to the present day the film has incurred mixed reviews by critics, generally being unfavorably compared to the preceding two films in the franchise.[25][26]

A number of cast and crew associated with the series, including actor Michael Biehn, previous director James Cameron, and novelist Alan Dean Foster expressed their frustration and disappointment with the film's story. Cameron, in particular, regarded the decision to kill off the characters of Bishop, Newt, and Hicks "a slap in the face" to him and to fans of the previous film. Biehn, upon learning of Corporal Dwayne Hicks' demise, demanded and received almost as much money for the use of his likeness in one scene as he had been paid for his role in Aliens.[27] Alan Dean Foster, the writer of the novelizations of the first three Alien films, called the death of Newt and Hicks "an obscenity".

The bonus disc for Alien³, in the 2003 Quadrilogy set, includes a documentary on the film's production but lacks Fincher's participation. Despite giving the Quadrilogy set high marks, TheDigitalbits.com directed criticism at the bonus disc, pointing out that the studio had cut the documentary to delete a handful of behind-the-scenes clips in which Fincher openly expresses his anger and frustration with the studio.[28]

Awards

Interpretation and analysis

Academics analyzing the role of the Ripley character remark on the symbolism of the Sulaco's cryo chamber. Ripley is compared with an incorruptCatholic saint preserved in a glass coffin (akin to Saint Bernadette of Lourdes, both in her lying in state in the cryotube as well as her incorrupt body, which has twice survived being almost "impregnated" by the Alien). Accompanied by the Agnus Dei of the Ordinary Mass playing in the background of the opening scene, these scholars argue that the Sulaco is transformed "into a holy site where the iconic bodies of a fetishistic religion lie in state," setting the scene for a lone facehugger attacking its victim (corrupting it) and also causing the emergency system to eject the cryotubes into space and to plunge to Fiorina "Fury" 161 (representing the Fall of Man).[30]

Adaptations

A novelization of the film was authored by Alan Dean Foster. His adaptation includes many scenes that were cut from the final film, some of which later reappeared in the Assembly Cut. Foster wanted his adaptation to differ from the film's script, which he disliked, but Walter Hill declared he should not alter the storyline. Foster later commented: "So out went my carefully constructed motivations for all the principal prisoners, my preserving the life of Newt (her killing in the film is an obscenity) and much else. Embittered by this experience, that's why I turned down Resurrection."[31]

Contents

Ripley

This is a maximum security prison... and you have no
weapons of any kind?

[Last lines; transmisson from the conclusion of
Alien] Final report of the commercial starship
Nostromo. Third officer reporting. The other members of
the crew, Kane, Lambert, Parker, Brett... Ash... and Captain Dallas
are dead. Cargo and ship destroyed. I should reach the frontier in
about six weeks. With a little luck, the Network will pick me up.
This is Ripley, last survivor of the Nostromo... signing off.

Your ass is already on the line. The question is, what are you
gonna do about it?

When they first heard about this thing, it was crew expendable.
The next time they sent in marines, they were expendable too. What
makes you think they're gonna care about a bunch of lifers who
found God at the ass-end of space? You really think they're going
to let you interfere with their plans for this thing? They
think we're... we're crud, and they don't give a fuck
about one friend of yours that's died. Not one.

Clemens

Poor sod backed into a nine foot fan.

[To Riply, after she recovers and asks sarcastically if she
should walk around nude] Given the nature of our secluded
population, I would suggest clothes. None of them have seen a woman
in years. (to himself) Neither have I, for that
matter.

Dillon

We're all gonna die. The only question is how you check out. Do
you want go on your feet, or on your fucking knees? Begging! I
ain't much for begging! Nobody ever gave me nothing! So I say
FUCK that thing! Let's fight it!

Why are the innocent punished? Why the sacrifice? Why the pain?
There aren't any promises. Nothing's certain. Only that some get
called, some get saved. She won't ever know the hardship and grief
for those of us left behind. We commit these bodies to the void...
with a glad heart. For within each seed, there is the promise of a
flower. And within each death, no matter how small, there's always
a new life. A new beginning. Amen.

[last words, fighting the alien] Come on! Come on!
That's all you got?! Is that as hard as you bite,
motherfucker?!

Dialogue

Andrews: This is rumor control, here are the
facts. As some of you know, a 337 model E.E.V. crash-landed here at
0600 on the morning watch. There was one survivor, two dead and a
droid that was hopelessly smashed beyond repair. The survivor is a
woman.

Morse: I just want to say that I have taken a
vow of celibacy. That also includes women. We've all taken the vow!
I'd like to say that I, for one, do not appreciate company policy
allowing to freely intermingle with inmates and the rest of the
staff.

Dillon: What brother means to say is we view
the presence of any outsider - especially a woman - as a
violation of the harmony, and a potential break in the spiritual
unity.

Andrews: We are well aware of your feelings on
this matter. You will be pleased to know that I have requested a
rescue team. Hopefully, they will be here inside of a week and
evacuate her ASAP. (To Clemens) What's her medical
status?

Dr. Clemens: She doesn't seem too badly
damaged. She's unconscious. Can't give you a more specific
diagnosis at the moment.

Andrews: Will she live?

Dr. Clemens: I would think so.

Andrews: Look, it's in everybody's best
interest the woman doesn't come out of the infirmary until the
rescue team arrives. And certainly not without an escort,
right?

Aaron: Sir.

Andrews: Gentlemen, we should all stick to our
set routine and not get unduly agitated. Correct? All right. Thank
you, gentlemen.

Ripley: How do you know my name?

Clemens: It's stenciled on the back of your
shorts.

(Assembly Cut only)

Frank: Ah, Christmas has come early,
Murph.

Murphy: What do you mean?

Frank: Any dead ox is a good ox.

Murphy: Too bloody right! Smelly bastard's all
covered in lice!

Frank: Well there's only seven of the friggin'
things left, then we're done with them. God, I hate hosing these
bastards down. Always get shite all over my boots.

Murphy: Talking of hosing things down...

Frank: Yeah?

Murphy: If you got the chance, what would you
say to her?

Frank: What do you mean, if I got the
chance?

Murphy: You know, if you got the chance.

Frank: You mean casual-like?

Murphy: Yeah. I mean, how would you put it if
you bumped into her in the mess hall or somewhere?

Frank: No problem. I've never had any trouble
with the ladies. I'd say, "Good day, my dear. How's it going?
Anything I can do to be of service?" Then I'd give her the look,
you know, up and down. Then I'd give her the wink, the dirty smile.
She'd soon get the picture.

Murphy: Yeah, and then she'd say, "kiss my
arse, you horny old fucker!"

Frank: I'd be happy to kiss her ass. I'd be
happy to kiss her anywhere she wants.

Murphy: Yeah, but treat 'em mean and keep 'em
keen. Right, Frank?

Frank: Told you before, Murph. Treat a queen
like a whore, and a whore like a queen. You can't go wrong.

Murphy: (kicks the dead bovine) What do you
think killed Babe?

Frank: Beats me. She just keeled over.

Murphy: How old was she?

Frank: The charts say eleven, in her prime.
Never mind. We'll chop her up later and throw her in a stew.

Murphy: Right. Hey Frank... what's this?
[picks up a dead facehugger]

Clemens: Now that I've gone out on a limb for
you with Andrews, damaged my already less-than-perfect relationship
with that good man, can you not tell me what you were looking for
in the girl?

Ripley: Are you attracted to me?

Clemens: In what way?

Ripley: In that way.

Clemens: You're very direct.

Ripley: I've been out here a long time.

Clemens: So have I.

Andrews: We commit this child and this man to
your keeping, O' Lord. Their bodies have been taken from the shadow
of our nights. They have been released from all darkness and pain.
The child and the man have gone beyond our world. They are forever
eternal, and everlasting. Ashes to ashes, dust to dust.

Dillon: Why? Why are the innocent punished?
Why the sacrifice? Why the pain? There aren't any promises.
Nothing's certain. Only that some get called, some get saved. She
won't ever know the hardship and grief for those of us left behind.
We commit these bodies to the void... with a glad heart. For within
each seed, there is the promise of a flower. And within each death,
no matter how big or small, there's always a new life. A new
beginning. Amen.

Andrews: Once again, this is rumor control,
here are the facts. At 0800 hours, prisoner Murphy, through
carelessness on his part, was found dead in vent shaft 17. He
seems to have been sucked into a ventilator fan. At about
2100 hours, prisoner Golic reappeared in a deranged state.
Prisoners Boggs and Rains are missing. There seems to be a good
chance that they have met with foul play at the hands of prisoner
Golic. We need to organize and send out a search party; volunteers
will be appreciated. I think it's fair to say that our smoothly
running facility has suddenly developed a few problems. I can only
hope we are all able to pull together over the next few days until
the rescue team arrives for Lieutenant Ripley.

Ripley: (runs into the room, out of breath
and panicking) It's here! It got Clemens!

Andrews: (loses his temper) Stop this
raving at once! Stop it!

Ripley: I'm telling you, it's here!

Andrews: Mr. Aaron, get that foolish woman
back to the infirmary!

[the alien reaches down from an overhead airduct and pulls
Andrews into the ceiling]

Morse: [holding a chair defensively, after
the panic subsides in shocked silence] ...FUCK!

Ripley: It's like a lion. Sticks close to the
zebras.

Aaron: Zebras? Oh, right. But running around
down here in the dark, are you kidding? Once you get out of this
main shaft, there are no overheads.

Ripley: Torches? Do we have the capacity to
make fire? Most humans have enjoyed that privilege since the Stone
Age.

Aaron: No need to be sarcastic.

Aaron: [showing Ripley a nuclear waste
storage vault] Never been used. They were gonna dump a lot of
nuclear crap in there. Never got around to it. Clean as a whistle
inside.

Ripley: This is the only way, in or out?

Aaron: That's right. Walls are six feet thick,
solid steel. They really knew how to build these babies.

Ripley: You're saying we get something
inside... there's no way it can get out?

Aaron: That's right. No fucking
way.

Aaron: This is where we keep it. Forget what
the stuff's called...

David: Quinitricetyline.

Aaron: I knew that. Right, I've got to get
these section arrangements organized with Dillon for the
paintbrush, so...

David: David.

Aaron: Yeah, you can get these drums
organized.

David: Right, 85.

Aaron: (starts walking away) And,
uh... don't call me that. (leaves)

Ripley: What's this 85 thing?

David: Couple of us sneaked a look at his
personnel file the day he arrived; it's his IQ. (about the
chemicals) I saw a drum of this stuff fall into a beachhead
bunker once. The blast put a tug in dry dock for 17 weeks. Great
stuff.

Dillon: Why should I put my ass on the line
for you?

Ripley: Your ass is already on the line. The
only question is, what are you gonna do about it?

Dillon: This is the choice. You die sitting
here on your ass or you die out there. At least we take a shot. We
owe it one! It's fucked us up. Maybe we can get even for the
others. So how do you want it?

Morse: What the fuck are you talking
about?

Dillon: I'm talkin' about killing that big
motherfucker.

Aaron: Hold it, hold it. The rescue team is on
its way. We could just sit this out.

Ripley: Rescue team for whom?

Aaron: For us.

Ripley: They just want the beast, you know
that.

Aaron: I don't give a damn what they want.
They're not gonna pick us off one by one, are they?

Ripley: ...I wouldn't be so sure.

Aaron: Come on, they're gonna take us
home.

Dillon: They're not gonna take
us home.

Morse: Still doesn't mean we should go out and
fight it. Jesus Christ, give us a break!

Dillon: Nobody gives a shit about you, 85,
you're not one of us. You're not a believer. You're a fucking
company man!

Aaron: Yeah, okay. Okay, so I'm a company man,
I'm not a fucking criminal. You keep telling me how dumb I am. Well
I'm smart enough not to have a life sentence on this rock! [the
prisoners yell insults and profanities at him] Yeah, and I'm
smart enough to wait for some firepower to show up before we fight
this thing! Right?

Dillon: Okay, fine. Just sit here on your
asses.

Morse: (sarcastically) How about if I
sit here on my ass?

Dillon:: No problem. Oh, I forgot. You're the
guy that's made a deal with God to live forever, and all the rest
of you pussies can sit it out too. Me and her will do all the
fighting.

Morse: Okay... but I want the same thing as
you. I want to see it dead, I hate the fucker! It killed my mates,
too! Why can't we just wait for the company and have some guns on
our side? Why do we have to go on some fucking suicide run?!

Aaron: Right!

Ripley: Because they won't kill it.
...They might kill you just for having seen it, but
they're not gonna kill it.

Aaron: That is crazy! That is horseshit! They
will not kill us!

Ripley: When they first heard about this
thing, it was crew expendable. The next time they sent in marines;
they were expendable, too. What makes you think they're gonna care
about a bunch of lifers who found God at the ass-end of space? You
really think they're going to let you interfere with their
plans for this thing? They think we're crud, and they don't give a
fuck about one friend of yours that's died. Not one.

David: Have you got some sort of plan?

Dillon: This is a leadworks, isn't it? All we
got to do is lure the fucking beast into the mold, drown it in hot
lead.

Morse: All right. So how do we do that?

Gregor: Yeah. What are we gonna use for
bait?

Kevin: (realizes) Aw, fuck!

Dillon: We're all gonna die. The only question
is when. This is as good a place as any to take our first steps to
heaven. The only question is how you check out. Do you want it on
your feet? Or on your fucking knees...
begging?! I ain't much for begging! No
one ever gave me nothing! So I say fuck that thing! Let's fight
it!

Morse: Fuck it! Let's go for it!

[as Jude is running from the alien in the tunnels, his
frantic calls for help are heard by Dillon, who is waiting for him
at the other end of the tunnel]

Alien³ is a game released for many home computers and home consoles. The game is based on the movie of the same name.

Story

Lt. Ellen Ripley has crash-landed on Fiorina 'Fury' 161, which houses a prison facility for dangerous criminals. The aliens she has been fighting have also landed on the planet with her and are reproducing again. The objective of the game is to rescue convicts in the prison facility from xenomorphs.